WHITE ON WHITE (1918)
After the Revolution, Russian intellectuals hoped that human
reason and modern technology would engineer a perfect society.
Malevich was fascinated with technology, and particularly with
the airplane, instrument of the human yearning to break
the bounds of earth. He studied aerial photography,
and wanted White on White to create a sense of floating
and transcendence. White was for Malevich the color of infinity,
and signified a realm of higher feeling.
For Malevich, that realm, a utopian world of pure form,
was attainable only through nonobjective art. Indeed,
he named his theory of art Suprematism to signify
"the supremacy of pure feeling or perception in the pictorial arts";
and pure perception demanded that a picture's forms
"have nothing in common with nature." Malevich imagined
Suprematism as a universal language that would free viewers
from the material world.
(@ - The Museum of Modern Art, MoMA Highlights, New York:
revised 2004, originally published 1999.)
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